Neobychainye priklyucheniya mistera Vesta v strane bolshevikov

In the aristocratic dictionary, the Teutonic word "stereotype" means a set of characteristics or a fixed idea considered to represent a particular kind of person and that is a good description of "Neobychainye Priklyucheniya Mistera Vesta V Strane Bolshevikov"( The Extraordinary Adventures Of Mr. West In The Land Of The Bolsheviks ), directed by Herr Lev Kuleshov in the silent year of 1924. At this point it is not necessary to declare that this German count has a special, uncontrollable fondness for stereotypes…

The film depicts the extraordinary adventures of Mr. West in Moscow. Mr. West is an American tourist with a stereotyped idea of Russians, due to the American press. His innocence and credulity will be taken advantage of by a gang who kidnaps him and then behaves just as he expects Russian barbarians to behave. But thanks to one of his fellow countrymen, Elly and his faithful escort, cowboy Jeddy, Mr West escapes their claws and the true Bolsheviks present a radiant face of the country to their guest.

Herr Lev Kuleshov was one of the most important Russian film directors, a fundamental pioneer who formed in 1920, the Kuleshov workshop, a kind of film experimental lab where he gave classes to directors and actors who would later be famous and indispensable in the soviet film industry. In fact, an important group of those directors participated in this film satire as actors: Herr Vsevolod Pudovkin, Herr Sergei Komarov and Herr Boris Barnet ( these last two directed later important silent comedies during their careers.

In "Neobychainye…" Herr Kuleshov merrily uses and abuses stereotypes on both sides of iron curtain; classic iconographies and stereotypes of American capitalists and Russian Bolsheviks. It is very healthy and easy laughing out loud at your capitalist neighbours but it is even better laughing at yourself, with the permission of the communist party, natürlich!!.

This early U.S.R.R. comedy was influenced by the pre-war comedies of Herr Max Linder and André Deed, very famous in Russia at those times, as well as American westerns and European serials, different film genres whose spirit is absorbed and satirized in this mad comedy that includes car chases, a confused but efficient cowboy loose in Moscow and a chaotic gang formed by diverse members.

The film has frantic and funny moments especially during the first half of the film when those stereotypes mentioned before create hilarity with crazy situations, and a display of a kind of harmless Russian sense of humour. The film slows down in pace in the second half when the unavoidable propaganda appears and finally Mr. West is seduced by the Bolsheviks and declares his passion for Lenin after attending a typical military parade at Moscow's Red Square (that was really funny for this stereotyped German count…)

And now, if you'll allow me, I must temporarily take my leave because this German Count must resume his decadent and stereotyped Teutonic existence.

This film, about a series of adventures an american businessman suffers in Soviet Russia, is unusual for the soviet movies of the 1920s: it's a comedy, and it's very funny at that. It also shows a sympathetic view of americans that is rare in films from the Soviet Union.

The Extraordinary Adventures of Mr. West in the Land of Bolsheviks happens to be the most entertaining Soviet propaganda film I have ever seen (and as a student of Russian Studies, I have seen quite a few Soviet propaganda films). American Mr. West and his trusty companion—the cowboy Jeddie—go off to see the land of the Bolsheviks, which they are warned is chaotic and barbaric place. When they arrive, Jeddie is arrested (for lassoing and shooting a man in the fashion of a Clint Eastwood character) and Mr. West is taken in by a group of thieves. What unfolds is quite the tale. Kuleshov was a master of editing—he used editing of shots in order to make them something new, and that is seen in The Extraordinary Adventures of Mr. West in the Land of Bolsheviks. For example, the closing scenes of the movie show a series of cuts—all quick scenes around Moscow pieced together. Even though Jeddie and Mr. West aren't in all of the scenes, viewers are under the impression that they are because of the way Kuleshov has pieced the cells together. On the propaganda side of things, the film is pretty easy to interpret. Jeddie and Mr. West—as Americans— symbolize American ignorance and all that is flawed with America—and therefore capitalism. The true Bolsheviks in the movie are portrayed as pure and good—showing that communism and Bolshevism is the true way to go. Mr. West is a highly entertaining movie—even if you are but a simple minded member of the proletariat.

The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks will not ignite your passions, but it is sure to satisfy any humorous appetite as the naive Mr. West falls victim to deception after deception from a collection of crooks and rogues shortly after his arrival in Moscow. The film is a propaganda piece that aims for only two things: The glorification of the Bolshevik way of life, and an easily digestible story to ensure that this message is well received. It succeeds at both.

Mr. West, the symbol of the typical rich American (really, it's all in the name), knows little about the Bolsheviks. He can only rely on the unflattering depiction in the New York magazine: unkempt men adorned by large mustaches and wearing fur clothes suitable for a Neanderthal. It is no surprise that when Mr. West travels to Russia in accordance with his duties as President of the YMCA , he takes caution by bringing Jeddie, a loyal gun slinging 'cowboy' bodyguard, along for protection.

Throughout the film we see deliberate contrasts between the orderly soviet society of the Bolsheviks and the haphazard actions of the Americans that disrupt it. Jeddie lasso's the coachman of a horse and buggy and hijacks it causing a scene and an ensemble of police men to give chase. Mr. West's ignorance lands him into the clutches of thieves causing a stir at his workplace. The director is careful however, not to mock the Americans' other values, which include loyalty (Mr. West to his wife when tested by "the countess", and Jeddie to Mr. West), and a certain innocence. Without these, the film could never reach out to an American audience, and never win over their hearts and minds.

The Bolsheviks only truly shine when Mr. West is rescued from Zhban and his cohorts. He then is granted a tour of Moscow and views all the civic achievements of the new government, the processions, the radio tower, the workers attending to their duties in lockstep fashion.

When a pure and simple mind such as Mr. West's can marvel at the Bolshevik's good works, we too cannot help but agree that maybe the Bolshevik's weren't so bad after all.

To state the new Soviet Union and its Bolshevik leaders were having a worldwide image problem in the early 1920s is an understatement. With the bloody upheaval of the ruling Romanovs and the Revolution of 1917, Russia was the first to implement Karl Marx's philosophy of communism into its government. The takeover was so sharp that some of the Allies, soon after The Great War, sent forces to assist the White Russians in their attempt to overthrow the overthrowers. The ultimate success of the Bolsheviks stunned governments throughout the world, with many economically boycotting the collection of communist countries making up the newly-formed Soviet Union.

Film theorist/director Lev Kuleshov aimed to correct the worldwide portrayal of the Soviets as the modern-day barbarians. He knew comedy was the quickest way to change audiences' perceptions on deeply ingrained stereotypes. With a witty script written by Nikolai Aseyev and Vsevolod Pudovkin, the later a soon-to-be noted film director, Kuleshov released April 1924's "The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks." The screenplay called for several Hollywood-type characters and movie's common themes to be introduced, beginning with Mr. West (Porfiri Podobed), a YMCA official from Cleveland. Mr. West planned to visit Moscow to introduce the goals of the men's club athletic organization. To prepare for the trip, he and his protective escort, cowboy friend Jeddie (Boris Barnet), researched several American magazine articles to discover how rough and uneduated Russian people really were.

Once the two arrive in Moscow, Mr. West, a ringer for comedian Harold Lloyd, and Jeddie, a Tom Mix-type Westerner, soon are confronted by an abduction group who attempt to extort an enormous sum of money for their release. Mr. West forms a different opinion on the Russian people and its new government when, like the United States Calvary, the Soviet law enforcement come to the rescue. An escorted trip through the Moscow streets by one enforcement officer serves as an affirmation by Kuleshov that the Romanov intellectual and art institutions so treasured by the world not only are standing, but they are thriving under the Bolsheviks.

"The Extraordinary Adventures" was the first major movie for Kuleshov to put into practice many of his famous cinematic editing theories. As a teacher and one of the founders of the newly-formed National Film School in Moscow, he made a name for himself by deriving the Kuleshov Effect. Explaining how a selection of shots during the editing process can affect the perceptions of movie viewers, Kuleshov demonstrated the process through a sequence of connected shots.

He took a clip of movie actor Ivan Mosjoukine, who looks non-expressively into the camera, while juxtapositioning shots of a bowl of soup, a little girl in a coffin, and a woman on a divan. In each sequence, Ivan's face appears to viewers to verify either his hunger for the soup, his grief over the girl's death, or his desire for the reclining woman. Kuleshov proved through the editor's manipulation of the sequential shots it's the viewer's intuition rather than Mosjoukine's outward expressions that determined what was going through Ivan's mind.

Kuleshov examples were the basis on the montage editing theories perfected by Sergei Eisenstein and other Russian directors, whose techniques and philosophy spread to filmmakers worldwide in a short period of time.